Alisa Lebow is Senior Lecturer in Screen Media at Brunel University. She is the author of ‘First Person Jewish’ (UMN Press, 2008) and the editor of the forthcoming ‘Cinema of Me: The Self and Subjectivity in First Person Documentary’ (Wallflower Press, 2012). She is also a filmmaker whose films include ‘For the Record: The World Tribunal on Iraq’ (2007), ‘Treyf’ (1998) and ‘Outlaw’ (1994).
Alpa Shah is a Senior Lecturer in Social Anthropology at Goldsmiths, University of London. She is the author of ‘In the Shadows of the State: Indigenous Politics, Environmentalism and Insurgency in Jharkhand, India’, 2010 (Durham and London: Duke University Press with an Indian edition by New Delhi: Oxford University Press) and co-editor of ‘Windows into a Revolution: Ethnographies of Maoism in India and Nepal’, 2011 (New Delhi: Social Science Press). She has made a radio documentary, ‘India’s Red Belt’ with BBC Radio 4 and has co-directed (with Ajay T. G.), a Jandarshan film, ‘Heads and Tales’.
Giulia Battaglia is a Teaching Fellow for the Centre for Media and Film Studies at SOAS, University of London. Her academic interest includes: South Asia, Indian film culture, documentary film, visual culture, media and cultural activism, digital technology, media and visual anthropology. She is currently finishing her PhD in anthropology – a historical ethnography of contemporary documentary film practices in India.
Laura Bear is a lecturer in the anthropology department at the London School of Economics. She is the author of ‘The Jadu House: an Intimate History of Anglo-India’ (Doubleday 2000) and ‘Lines of the Nation: Indian Railway Workers, Bureaucracy and the Intimate Historical Self’ (Columbia University Press 2007). In 2008-2010 she carried out two years of ESRC funded research on the waterscape of the Hooghly river in Kolkata with ship-builders, dockers, river boatmen and container ship pilots. She has made four films in collaboration with the men she worked with on the river. She has also recently curated an exhibition with the artists collective, Hastings Arts Forum, ‘Conflicts in Time’, generated in part by these films.
Lotte Hoek is a lecturer in the department of social anthropology at Edinburgh University. Her research and publications explore the public and visual cultures of the Bangladeshi popular film industry . Her thesis ‘Cut-Pieces: Obscenity and the Cinema in Bangladesh’ is an ethnography of the Bangladesh film industry and focuses on the common practice of inserting sexually explicit imagery into B-quality action movies. As part of her research she has made films of the process of production in order to reflect on the act of representation. Recent publications include, ‘More Sexpression Please! Screening the Female Voice and Body in the Bangladesh Film Industry’ in Birgit Meyer (ed.) ‘Aesthetic Formations: Media, Religion, and the Senses’ (Palgrave-Macmillan 2009).
Since graduating from Central St. Martins (College of Art, London) and the Rijksakademie (Postgraduate Fine Arts residency in Amsterdam) Lucia King has exhibited her paintings and audio-visual installations extensively in galleries and museums across Europe. Since 2000 she has worked on co-productions with India-based theatre artists and filmmakers, and was based in New Delhi for four years. She has curated several artist-led programmes between India and UK. A central concern of her work is to question the transformation of the body in performance (and other art forms) through the parallel realities induced by the experience of making artworks. This results in drawings paintings and films where the relationship between these media is apparent. She lectures part time in the University of Surrey and is an Associate Artist with Artsadmin (London). She is currently completing a PhD on filmmaker-to-filmed-subject relationships in documentary practices of India.
Nicole Wolf lives in London and Berlin and has been affiliated with documentary film practices in India since 1996. She is now a researcher and lecturer at the Department of Visual Cultures at Goldsmiths and curates film events. One of her main interests is political cinema, including its histories of experimental practices and the layers of theoretical inquiries that arise from there. Next to more recent research into wider political/creative practices in Pakistan and Kashmir, she co-edited (with Bhaskar Sarkar) ‘Indian Documentary Studies: Contours of a Field’, a special issue of BioScope: South Asian Screen Studies (forthcoming) and is working on her book ‘Make it real! Documentary politics and feminist thought in India’.
Partha Mitter is Professor Emeritus in Art History at the University of Sussex. He has been a Fellow of Clare Hall, Cambridge; Institute for Advanced Study, Princeton; Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington DC; Clark Art Institute, Williamstown and Mass and Getty Research Institute. He was also Radhakrishnan Memorial Lecturer at All Souls College, Oxford. His Books include ‘Much Maligned Monsters: History of European Reactions to Indian Art’, Clarendon Press, Oxford 1977: Chicago University Press Paperback, 1992; ‘Art and Nationalism in Colonial India 1850-1922’, Cambridge University Press, 1994, ‘Indian Art’, Oxford University Press, 2002; ‘The Triumph of Modernism: India’s Artists and the Avant-Garde 1922-1947’, Reaktion Books 2007, and numerous articles.
Radha D’Souza is a Reader in Law at the University of Westminster. She has taught law at University of Waikato in New Zealand, and development studies, sociology and human geography at the University of Auckland. She practised law in the High Court of Mumbai in the areas of labour rights, constitutional and administrative law, public interest litigation and human rights. She is a social justice activist who has worked with labour movements and democratic rights movements as organizer and as activist lawyer in India. She is also a writer and columnist. Her short stories, essays and columns are published within and outside India. She is the author of ‘Interstate Conflicts Over Krishna Waters: Law, Science and Imperialism’, 2006 (Hyderabad: Orient Longman Pvt. Ltd).
Ravi Vasudevan works at the Centre for the Study of Developing Societies, Delhi, and is a co-initiator of Sarai, the Centre’s urban and media studies programme. He is a member of the editorial collective of the Sarai Reader series, editorial advisor to Screen, co-founder of BioScope, a journal of South Asian screen studies and has edited ‘Making Meaning in Indian Cinema’ (OUP, 2000). His ‘The Melodramatic Public: Film Form and Spectatorship in Indian Cinema’ (Ranikhet, Permanent Black, 2010) has recently been released in its international edition by Palgrave Macmillan. Vasudevan is currently Smuts Fellow at Cambridge.
Ros Gray is a theorist, researcher and lecturer. She is Lecturer in Art Practice (Critical Studies) in the Department of Art at Goldsmiths and Tutor for Research in the Department of Curating Contemporary Art, Royal College of Art. Her research revolves around militant cinema and its global filmmaking networks, the screen as site of radical gathering, anti-colonial and postcolonial theory. Ros Gray has published her work in The Journal of African Cinemas, Textile: Journal of Cloth and Culture, and the Journal of Visual Cultures; she is currently preparing a chapter for the book ‘Moving Images of Postcommunism’ (edited by Lars Kristensen 2011), and a monograph, ‘The Vanguard of the World: Cinemas of the African Revolution’.
Rosie Thomas is Director of the Centre for Research and Education in Art and Media (CREAM) and Co-director of the India Media Centre at the University of Westminster. She is a pioneer of the academic study of the Bombay film industry and, since 1985, has published widely on Indian cinema. Throughout the 1990s she practised as a television producer making documentaries, arts and current affairs programmes for Channel Four, many on South Asia related topics. Rosie’s current research interests include pre-independence popular Indian cinema and South Asian arts and documentary. She is co-founder and co-editor of the international Sage journal BioScope: South Asian Screen Studies.
Stephen Putnam Hughes was born and raised in California and completed PhD in Social and Cultural Anthropology at The University of Chicago. He currently teaches Anthropology and Sociology at the School of Oriental and African Studies, University of London. His teaching has focused on the Anthropology of Media with an emphasis on documentary and ethnographic film. His research and publications relate primarily to Tamil speaking south India, where over the course of the last twenty five years, he has worked on a various topics including film history, sound media, religion and politics of mass media.
Stewart Motha is Reader in Law, School of Law, University of Kent, and Fellow of the Stellenbosch Institute of Advanced Study, South Africa. He has published widely on questions of postcolonial sovereignty, indigenous land rights, and political theology and democracy. His research draws on visual art and literature in examining questions of memory, home, exile, and political violence. His articles have been published in a variety of international journals including, Journal of Law, Culture, and Humanities; Theory, Culture and Society; Law and Critique; Journal of Law and Society, and the Australian Feminist Law Journal. In 2007 he edited a book titled ‘Democracy’s Empire: Sovereignty, Law, Violence’ (Blackwell). A co-edited volume, ‘Reading Modern Law: Critical Methodologies and Sovereign Formations’ is forthcoming with Routledge in 2012.
Ziba Mir Hosseini
Ziba Mir Hosseini is an independent consultant, academic, and writer on Middle Eastern issues, based at the London Middle East Institute and the Centre for Middle Eastern and Islamic Law, both at SOAS, University of London. Dr. Mir-Hosseini has held numerous research fellowships and visiting professorships, including Girton College, Cambridge; Wissenschaftskolleg zu Berlin; and Hauser Global Law Visiting Professor at New York University. She is a founding member of Musawah Global Movement for Equality and Justice in the Muslim Family and a council member of Women Living Under Muslim Laws. Her publications include ‘Marriage on Trial: A Study of Islamic Family Law in Iran and Morocco’ (I. B. Tauris, 1993, 2002), ‘Islam and Gender: The Religious Debate in Contemporary Iran’ (Princeton University Press, 1999), and (with Richard Tapper) ‘Islam and Democracy in Iran: Eshkevari and the Quest for Reform’ (I. B. Tauris, 2006). She has also directed (with Kim Longinotto) two award-winning feature-length documentary films on contemporary issues in Iran: ‘Divorce Iranian Style’ (1998) and ‘Runaway’ (2001). She has a B.A. in sociology from Tehran University and a PhD in social anthropology from University of Cambridge.